[53] Donate Giannotti, "De' giorni che Dante consumo nel cercare l'Inferno e 'l Purgatorio. Dialoghi."
Were I but he, born for like lingering pains Against his exile coupled with his good, I'd gladly change the world's best heritage. (Translation of J. A. Symonds.)
[55] Capitolo di Francesco Berni a fra Sebastiano del Piombo. (Rime. Ed. Frey, p. 263.)
[56] Canzone in lode di Michelagnolo Bonarroto. (See Frey, p. 7.)
[57] A Frenchman who saw him at that time.
[58] Letters of Michelangelo to Fattucci, March 7, 1551.
[61] The work on the fortifications of Rome directed by Antonio da San Gallo dates from his reign and also the construction of the Capitol, the raising of the statue of Marcus Aurelius, the completion of the Farnese Palace, the construction of the Via Paola, of the Sala Regia and the Pauline Chapel at the Vatican, the Caffarelli and Spada palaces, the Villa Medici, etc.
[62] As a matter of fact Michelangelo did not actually receive any income from this source until 1538, and after many difficulties he lost it in 1547.
[63] Later on the subject was treated after the sketches of Michelangelo in the Chapel of S. Gregorio at Santa Trinità. (See Vasari.)
[64] Perugino had painted the Assumption with a portrait of Sextius IV kneeling, Moses saved from the waters, and the Birth of Christ.
[65] Léon Dorez has found recently in the records of the private accounts of Paul III the exact dates of the work, April-May, 1536, to November 18, 1541.
[66] Thus Vittoria Colonna had herself described the Last Judgment to Michelangelo: "Christ comes twice, the first time he is all gentleness; he only shows his great kindness, his clemency and his pity; he comes for the sinners and the sick, to give peace, light and forgiveness, all glowing with charity, clothed in humanity.... The second time he comes armed and shows his justice, his majesty, his grandeur and his almighty power, and there is no longer any time for pity or room for pardon." (Letter of Vittoria between 1535-1546, probably to Bernadino Ochino,--Carteggio de Vittoria Colonna, p. 242.)
[67] We know that Michelangelo, to revenge himself, portrayed Biagio from memory in the Hell of his Last Judgment under the form of Minos with a huge serpent wound about his legs in the midst of a mountain of devils. (Vasari.)